Jakarta. BRI JF3 Fashion Festival 2026 showcases various approaches to sustainability, from extending the life of textiles and processing leftover materials to creating new value from resources that are already available. Old clothes, textiles stored for years, fabric scraps, vintage keys, fish scales, bones, seashells, and other unused materials have one thing in common: they once served a purpose. But for several designers featured at BRI JF3 Fashion Festival 2026, the end of one function marks the beginning of a new possibility.

Through the theme “Recrafted: Shaping the Future,” JF3 shows that sustainable fashion does not have a single formula. Sustainability can begin by looking again at materials that are already available, extending a product’s life cycle, reconstructing production leftovers, or finding new value in something that was previously considered no longer useful. These diverse approaches took to the JF3 2026 runway through works by Indonesian and international designers.

Howard Laurent: Bringing Leftover Materials Into Couture
Through The Key, HOWARD LAURENT presents 30 looks that combine the glamour of evening wear with a more conscious approach to material use. Several looks use up to 50% materials from existing sources, including vintage keys, unused beads, fabric remnants, and handcrafted embellishments made from recycled plastic. These materials are incorporated into Howard’s design language through corset structures, fringe, shimmering details, and embellishments.

The approach shows that reusing materials does not have to diminish the visual value of a piece. Materials that had previously lost their function are transformed into couture details with a new character. Through The Key, luxury is not defined solely by the novelty of materials, but also by the ability of design and craftsmanship to turn what is already available into something valuable again.

RAEGITAZORO: Extending the Life of Materials and Memories
Through LUMEN: From Her Shadow to My Light, RAEGITAZORO brings the idea of sustainability into a more personal space with 30 looks. Inspired by the late mother of Founder and Creative Director Raegita Oktora, the collection explores what remains alive from the people who shape a person’s journey — legacy, resilience, and what one chooses to carry into the future. Architectural silhouettes, precise tailoring, controlled deconstruction, and volume play become the collection’s main design language.

In developing LUMEN, the mother’s clothes, tablecloths, and inherited fabrics are given new life through clothing. The materials are no longer simply kept because of their sentimental value, but become part of pieces that can be worn again. Here, sustainability extends beyond the physical life of a material: what is also extended are its story, memory, and relevance for the next generation.

AMOTSYAMSURIMUDA: Rediscovering the Value of Forgotten Fabrics
AMOTSYAMSURIMUDA began Heirloom Fantasy with something close to home: a pile of old fabrics at the designer’s parents’ house. Antique textiles and traditional fabrics that had been stored away were transformed into contemporary menswear, bringing nostalgia together with the way people dress today.

Rather than preserving the materials in their original function, AMOT gives them a new context and use. The approach shows that sustainability does not always have to begin with the creation of alternative materials. Sometimes, the first step is to look again at the resources already owned and find the possibilities within them.

Adrie Basuki: Circular Fashion as a Process of Creating Materials

Circular fashion forms a strong foundation in Jantung Nadi by Adrie Basuki. One of its main explorations is Kain Marmer, developed from fabric remnants through a series of processing stages to create new color compositions and textures. Leftover materials are not positioned as the end of the production process, but as a starting point for what comes next. The fabric is then combined with traditional stamped batik and Sadabhumi Batik featuring floral motifs, as well as natural Indonesian materials such as ginger, onion, cinnamon, and banana.

Adrie’s approach shows that circularity can become part of a design language, rather than simply a strategy to reduce waste. Materials that have completed their previous function are given a new form and value while being brought together with Indonesian craftsmanship. For Adrie, sustainability means looking again at what is already available, extending its useful life while opening new possibilities for tradition and materials.

Adrie also gave the runway to cancer survivors as a tribute to their resilience and the long journeys they have endured, including survivors of breast cancer, lung cancer, and lymphoma.

AGATHANDY: When Scraps Become Part of a Design Identity
Through the presentation of the Association of Indonesian Fashion Designers and Entrepreneurs (APPMI), AGATHANDY by Agatha Nindya presents LOKAKINI, bringing modern suit silhouettes together with traditional beskap while reconstructing lace and batik scraps into decorative details.

Rather than hiding scraps as a consequence of the production process, AGATHANDY incorporates them back into the composition of the garments. Pieces of different sizes and shapes create new visual possibilities, showing how material limitations can become part of a design’s character and identity.

YASA: Finding Value in Materials From the Surrounding Environment
Through NIHI Voyage, YASA presents 24 looks that translate the natural and cultural richness of Sumba into contemporary menswear. Flora, fauna, coastal environments, and Sumba’s landscapes are translated through embroidered motifs with shading inspired by the lines and textures of traditional woven textiles. Several hero pieces also use unconventional materials such as cattle rib-bone waste, crab claws, and seashells as decorative elements combined with wastra and handwork by local artisans.

The approach comes from a context close to its source of inspiration. YASA looks at materials available in the surrounding environment and explores how they can be repurposed through design. The result not only carries Sumba’s visual identity, but also creates a connection between local resources, craftsmanship, and a creative process that is more conscious of the environment.

The Theme: When Creativity Gives Materials New Value
In The Life Journey, The Theme presents 24 looks that translate life journeys and various professions into a series of distinctive accessories. The brand, led by Novi Susanti with Co-Designer Ferdinand Natan, works with materials such as brass, PVC, and leather through hand sewing, laser cutting, and handcrafted techniques, while involving local artisans and younger generations in the production process.

In one of its explorations, red snapper fish scales sourced from fishermen in Bintan are transformed into accessories and sewn one by one using a sequin technique. The transformation shows how creativity and craftsmanship can give new functions and value to materials that previously existed outside the fashion context. In this approach, sustainability is not only about material choices, but also about the ability to see new potential through design and craftsmanship.

Louise Marcaud: Giving New Life to Found Materials
A different approach comes from France through Louise Marcaud and her Louiseguard Spring/Summer 2027 collection, which features 20 looks. During a previous visit to Indonesia as part of the PINTU Cultural Visit, Louise explored textile markets in Jakarta as well as batik and lurik workshops in Yogyakarta. From the trip, she collected batik, lurik, production remnants, and various visual references that she later brought back to Paris.

One of her finds was a piece of fabric that was no longer being used at a workshop. Rather than seeing it as a leftover, Louise was drawn to the irregularity of its motifs and the traces of the production process visible on its surface.

The material was then brought back into the creative process through Louise’s design language, rooted in tailoring, structure, and play with proportions. Thirteen of the 20 LouiseGuard looks presented at JF3 use batik and woven textiles she obtained during her trip to Indonesia. The approach is consistent with the practices of the Louise Marcaud label, which produces limited collections and prioritizes existing materials and deadstock fabrics whenever possible. Found materials do not remain souvenirs or production leftovers, but gain new life and context through design.

Sustainable Fashion Has No Single Formula
The collections show that sustainability at JF3 2026 takes different forms. Howard Laurent reworks vintage objects and unused materials; RAEGITAZORO and AMOTSYAMSURIMUDA extend the life of textiles and personal legacies; Adrie Basuki and AGATHANDY create new value from leftover materials; YASA and The Theme find possibilities in materials available in their surrounding environments; while Louise Marcaud brings leftover fabrics and deadstock back into the creative process.

Their common ground does not lie in using one particular material or method, but in the willingness to question the need to always start with something new.

As JF3 Fashion Festival Chairman Soegianto Nagaria said, the change needs to take place not only in the work itself, but also in how the industry operates.

“The fashion industry continues to change. Therefore, we must also dare to change, improve quality, strengthen the way we work, build more equal collaborations, and create an ecosystem that gives more talents room to grow sustainably. Through the spirit of Recrafted: Shaping the Future, JF3 aims not only to be a place to showcase works, but also a space to build standards, open new possibilities, and drive real change for Indonesia’s fashion industry.”

Through Recrafted: Shaping the Future, BRI JF3 Fashion Festival 2026 shows that the future of fashion does not always have to begin with new materials. It can also grow from the ability to look again at what is already available, extend the life of a fabric, revive objects that hold memories, reconstruct leftover materials, and find new functions for something that was previously considered finished.

This is where sustainable fashion moves beyond a discussion about materials to become a way of thinking that influences the design process, value creation, and the way the industry moves forward.

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